First half of a class by Amiri Baraka on topics including Harlem, modernism, Langston Hughes, black literature, Civil War, abolition, reconstruction, Richard Wright, Black Arts Movement, the beat generation, and underground ideologies. (Continues on 84p004.) Topics: New American Poetry, New York School, African American literature, poetry and race, Black Arts...
Second half of a class by Amiri Baraka on speech, rhythm, sound, and music. The class includes a discussion of form over content, a tape of Miles Davis, and a performance by Poetic Justice including David Nelson and Pam Donald. (Continued from 85p086.) Topics: Sound Poetry, New American Poetry, New York School, political poetry, Black Arts Movement
Second half of a class by Amiri Baraka on topics including black literature, Black Arts Movement, assassinations of the 1960's, colonialism, Jesse Jackson and the Rainbow Coalition, and a reading of the "Defeat Reagan" poem. (Continued from 84p003.) Topics: New American Poetry, New York School, African American literature, poetry and race, Black Arts...
First half of a class by Amiri Baraka on revolution and art. The discussion covers Miles Davis, the Poetry Orchestra Project, formalism, relationship of society to art and film, satire vs. social protest, Ed Dorn, black literature, Henry Jones, W.E.B. DuBois, and Mark Twain. (Continues on 85p089.) Topics: Sound Poetry, New American Poetry, New York School, political poetry, Black Arts Movement
A lecture by Amiri Baraka on the politics of poetics. The lecture ends with a question and answer period covering topics such as jism and jazz, grants in music, whores, hypocrisy, Bob Dylan, and Noam Chomsky. favoritefavoritefavoritefavoritefavorite ( 4 reviews ) Topics: New American Poetry, New York School, political poetry, protest poetry, Black Arts Movement
Second half of a class by Amiri Baraka. He reads and discusses the book, Confirmation: Anthology of African-African Women, including Margaret Walker, Jane Cortez, Dub Poets and Mikey Smith. (Continued from 84P005)
First half of a class by Amiri Baraka. He discusses Langston Hughes, the Harlem Renaissance, Negritude, indigenisme and black modernism. He covers Hughes's life and writings including "Red haired baby," "Montage of a dream defined," and his translations. Baraka also talks about Haitian indigenisme poets, negritude poets Leon Damas and Aime Cesaire, including Cesaire's "Notes on return to my native land." (Continued on 84P006)
First half of an Amiri Baraka lecture on various subjects including poetry as the basis of all writing, William Shakespeare, dub poets, the United States in Grenada, Brahma, Mark Twain, slave writing, African syntax, and critical realism. (Continues on 84p002.) Topics: New American Poetry, New York School, African American literature, poetry and race
Second half of a class by Amiri Baraka on revolution and art. Subjects include Harlem Renaissance, American modernism, Langston Hughes, William Carlos Williams, music composition, and a discussion of his murdered sister. Works by the class are also included in the discussion. (Continued from 85p088.) Topics: Sound Poetry, New American Poetry, New York School, political poetry, Black Arts Movement
Amiri Baraka prepares a class for a musical performance. He creates a bass line, assigns students to categories of musical instruments, and tells them they will be playing against his recording of the bass line. He goes over basic rhythmic concepts. The tape ends abruptly.
An Amiri Baraka lecture, discussing the need for a cultural revolution now in the United States, and discussing a new forum for sharing creative work about, and building political power for, significant cultural and political change.
Second half of an Amiri Baraka lecture on various topics including structuralists and deconstructuralism, alienation, sorrow songs, Stevie Wonder, and content as principle. (Continued from 84p001.) Topics: New American Poetry, New York School, African American literature, poetry and race, Black Arts...
First half of a class by Amiri Baraka on speech, rhythm, sound, and music. The discussion covers Stevie Wonder, Michael Jackson, Prince, Amos Moore, John Cage, Robert Duncan, T.S. Eliot, John Coltrane, Thelonius Monk, Max Roach, Allen Tate, Claude McKay, Zora Neale Hurston, Langston Hughes, and German expressionism. (Continues on 85p087.) Topics: Sound Poetry, New American Poetry, New York School, political poetry, Black Arts Movement
Second half of a class by Amiri Baraka on revolution and art. Subjects include Harlem Renaissance, American modernism, Langston Hughes, William Carlos Williams, music composition, and a discussion of his murdered sister. Works by the class are also included in the discussion. (Continued from 85p088.) Keywords: New American Poetry, Black Arts Movement, New York School, sound poetry, music in literature, political poetry
First half of a reading by Amiri Baraka, Diane diPrima and Robert Duncan. Baraka reads "Afro-American lyric," "Inside out," "I love music," "Malcolm remembered," "Against bourgeois art" and "Dope." diPrima reads "Revolutionary letter # 31," "To the patriarchs (for Inez Garcia)," "Ave," and an excerpt from Loba. (Continued on 75P109.)
First half of a panel on counter-poetics and opposition with Anne Waldman, Joanne Kyger, Amiri Baraka, Allen Ginsberg, and Peter Lamborn Wilson. Waldman begins by reading an excerpt from Columbus's journal describing how easy it will be to exploit the people of the Americas. She proposes a program for incorporating political activism into poetics. The panelists make individual statements about counter-poetics and move to more open discussion. They propose definitions for the term and look at... favoritefavoritefavoritefavoritefavorite ( 1 reviews )
byBaraka, Amiri; Ginsberg, Allen; Orlovsky, Peter; Ortiz, Simon
Simon Ortiz reads from Fight Back and from Sand Creek. Peter Orlifsky plays a song on banjo, then monologues seeming improved. Diane Di Prima is wished a happy 50th birthday. Allen Ginsberg sings a few songs which are sound like earlier versions than found on Holy Soul Jelly Roll box set, and reads White Shroud. Amiri Baraka delivers a good performance with poems centered around African American history (wise) and Jazz. favoritefavoritefavoritefavoritefavorite ( 1 reviews )
byBaraka, Amiri; Ginsberg, Allen; Taylor, Steven; Waldman, Anne
Second half of a poetry reading at Naropa Institute with Allen Ginsberg, Anne Waldman, and Amiri Baraka, and Steven Taylor performing songs. Ginsberg reads "Howl" and "Footnote to Howl." Taylor sings "The virus will take one in ten" and "As I walked out one morning." Waldman reads "May I speak thus" and other poems. Baraka reads "The mind of the president," "The best kept secret," "Masked angel costume,"...
Second half of a panel on counter-poetics and opposition with Anne Waldman, Joanne Kyger, Amiri Baraka, Allen Ginsberg, and Peter Lamborn Wilson. Waldman begins by reading an excerpt from Columbus's journal describing how easy it will be to exploit the people of the Americas. She proposes a program for incorporating political activism into poetics. The panelists make individual statements about counter-poetics and move to more open discussion. They propose definitions for the term and look at... favoritefavoritefavoritefavoritefavorite ( 1 reviews )
This faculty reading includes Amiri Baraka reading "Somebody Blew Up America" and "The Mind of the President" and talking about his murdered daughter; Kristin Prevallet reading predominantly political pieces such as "Force," "Norm" and "Blueprint for a Revolution"; and Deborah Richards reading "Notes from the Margin," "Some Notes from a Looseleaf War Journal," and "Author's Note." This is part 1 of 2.
Gregory Bateson lectures on "Orders of Change". While acknowledging the difficulties of speaking about change and stability due to the slippery positioning of the "it" of which one is speaking: "it" as existent thing or as "piece of descriptive material." Bateson distinguishes between levels of change, suggesting that more superficial changes serve the function of protecting deeper propositions. This is lecture 2 in a series of lectures. This is part 2 of...
byBellamy, Dodie; Harryman, Carla; Swenson, Cole; Taylor, Steven
A reading by Carla Harryman, Dodie Bellamy, Cole Swenson and Steven Taylor. Taylor reads "Aroika" and "He who passes away is loved." Bellamy reads a "Letter to Sam Delasandro from Mina Harper." Swenson reads three poems based on the work of Delacroix including "Here," "Other weddings, other ghosts" and other poems. Harryman reads "Gardener of stars" and "M." Topic: none
byBellamy, Dodie; Killian, Kevin; Kyger, Joanne; Raworth, Tom; Warshall, Peter
A reading with Naropa faculty members Joanne Kyger, Dodie Bellamy, Kevin Killian, Tom Raworth, and Peter Warshall. Many of the readings are dedicated to friends who have passed on, including Naropa teacher Rick Fields. Joanne Kyger reads from her history of the Buddhist teacher Naropa as well as a poem by Rick Fields. Dodie Bellamy reads from "The letters of Mina Harker." Kevin Killian reads his poetry including some poems written in response to the AIDS epidemic. British poet Tom...
Second half of a faculty reading with Steven Taylor, Dodie Bellamy, Kass Fleisher and Junior Burke including "Strip mall bohemia," "The mountain whippoorwill," "Geneology," "Holy thursday," "The curator's husband: A voice mail," "Boxing Day," and others. (Continued from 02P095)
A class, "Transmitting," taught by Bill Berkson at the Naropa Institute June 21, 1978. Among the various topics covered in Berkson's lecture: D.H. Lawrence, Rudy Burkhardt, Willem de Kooning, Clark Coolidge, John Cage, Alex Katz and Charles Reznikoff. Berkson also reads and discusses his poem "Negative." This is class 2 of 2.
Bill Berkson lecture on Joe Brainard and collaboration. Distinguishing between institutional collaboration and hands-on collaboration, Berkson reviews collaborations in the 1950's and 1960's involving Brainard, Frank O'Hara, Larry Rivers, himself and others. Berkson also discusses literary criticism as a form of collaboration, and his views on intellectual property rights.
A class taught by Bill Berkson at the Naropa Institute June 19, 1978. For the first part of the class Berkson focusses on the work of John Ashbury, reading and discussing his work. For the second part of the class, Berkson focuses on the work of W.H. Auden and William Carlos Williams. This is class 1 of 2.
Bill Berkson reads an autobiography that he wrote for the Gale Research Company. He talks about his family, his New York City childhood, and his life as a writer and teacher, including his memories of fellow poets.
A Bill Berkson class on poetics, focusing on the work of Frank O'Hara and other poets of the New York School. He reads portions of O'Hara's book Second Avenue and looks at the importance of place in poetry. Berkson talks about European influences on poets in New York, the influence of movies on O'Hara, and other aspects of the poetry of the New York School writers, including their influence on his own work.
First half of a Bernadette Mayer, Bill Berkson and Lewis Warsh reading. Berkson reads "From a childhood," "Dangerous enemies," "Roots," "Levantine," "Camera ready like a dream," "Duchamp dream," "Space dream," "Mother's mother," "To Lynn," "Breath," "Marco Polo," "Christmas Eve," "Negative," "The living brain," "Wake-up call" and other poems....
Second half of a Bernadette Mayer, Bill Berkson and Lewis Warsh reading. Warsh reads "Quarter to four," "Footnote," "Afternoon in October," "Stolen words," Walking through air" and other poems. (Continued from 78P101B)
A lecture by Charles Bernstein on poetics. Bernstein reads from "Fragments from the 17th Manifesto of Nude Formalism by Hermes Hermeneutic" and "The Second War." Discussion includes the holocaust, Heidegger, racism, radical modernism, the effects of World War II on American culture, and Reznikoff's "Holocaust." The lecture ends with a question and answer session. Topics: New American Poetry, political poetry, war in literature, antiwar literature
byBerssenbrugge, Mei Mei; Guest, Barbara; Waldman, Anne
A Barbara Guest Tribute with Barbara Guest and Anne Waldman. The tribute includes Waldman discussing Guest's titles, Guest's biography on HD, and a reading. Guest continues a discussion on what a poem is, followed by a reading and comments on erasure, hauntedness, physicallity, and destructiveness, a discussion on ego, availability of information, and "experimental" being gone from Naropa. Topics: Mei Mei Berssenbrugge, Barbara Guest, Anne Waldman
byBerssenbrugge, Mei-Mei; Kyger, Joanne; Osman, Jena; Perelman, Bob
First half of a poetry reading with Jena Osman, Bob Perelman, Mei Mei Bersenbrugge, and Joanne Kyger. Osman reads from "Press scrutiny." Bersennbrugge reads from her book, Nest, and Perelman reads "Fake dream: the library," "Today's lament," "Ode to James Fennimore Cooper," and others. (Continues on 01P026)
A Robin Blaser lecture titled, Where's hell? Blaser reads and discusses portions of his Great companion piece on Dante Alighiere, a poetic commentary on Dante's ideas and use of language. Blaser discusses the works and ideas of other writiers including James Joyce, Percy Bysshe Shelley, Jean-Jacques Rousseau, Ludwig Wittgenstein and Ezra Pound. Topic: none
A lecture given by Robin Blaser June 27, 2001. Blaser spends the majority of the lecture speaking about what her terms "cultural despair." He also discusses at length the practive and process of writing his libretto. After his lecture the floor is opened up for Q & A. This is part 1 of 2.
A lecture by Robin Blaser involving the reading of pieces by various artists including Blaser as well as discussion. Topics of readings and discussion includes the topic of "irreparables" the philosophies and terms surrounding it.
A reading (tape 2 of 2) held at Naropa University June 6 2003. Robin Blaser concludes the evening of readers that included Elizabeth Robinson and Kenneth Irby. Blaser reads from his books The Holy Forest and Wonders as well as newer work. This is part 2 of 2.
Robin Blaser presents another of his famously unsummarizable lectures, in which he searches with us for guides on the journey "From there to here to where: writing." "There" is Blaser's early childhood in Idaho, living in a train car and learning about syphilis from a tent chautauqua. "Here" is the hell that, as Pound said, holding his hands across his heart, is "here." "Where" is the question of where we are now, and where we are going,...
byBlaser, Robin; Brown, Lee Ann; Ginsberg, Allen; Schelling, Andrew; Taylor, Steven
First third of an Allen Ginsberg reading of "Pup Tent," "Newt Gingrich," "Skeleton Key," and new words to "Amazing Grace," followed with an introduction by Andrew Schelling of Robin Blaser and Lee Ann Brown reading "Even on Sunday," "Let Down Thy Bars," three versions of "Amazing Grace," "Resistance Play," "A Present Bow favoritefavoritefavoritefavoritefavorite ( 1 reviews )
byBlaser, Robin; Creeley, Robert; Ondaatje, Michael
First half of a panel discussion with Robin Blaser, Robert Creeley and Michael Ondaatje. The panelists discuss their personal histories, followed by comments on community, the 1965 poetry conference, the influences of books, homelessness in language and other topics. (Continues on 99P013)
A Robin Blaser lecture titled Belief, doubt and politics. Blaser discusses Clayton Eshelman, Ralph Waldo Emerson's "Lecture on the times," surrealism and romanticism, Victor Hugo, crucifixes and virgins, Francis Fukuyama and the end of history, Hanna Arendt, Lucian's "Zeus Rants," Robin Blaser's "Rose, Jack and Rexella Van Imp, Sappho and Ann Carsons, Martha Nussbaum, Ariadne and the soul as spider. The lecture ends with a question and answer session. (Part 1 of a two...
First half of a Naropa Summer Writing Program faculty reading, featuring poetry by Roberto Tejado and Robin Blaser, prose by Bobbie Louise Hawkins, and poetry and prose by Eileen Myles. (Continued on 01P055)